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By Carl Goldstein

During this publication, Carl Goldstein examines the print tradition of seventeenth-century France via a learn of the profession of Abraham Bosse, a well known printmaker, e-book illustrator, and writer of books and pamphlets on various technical matters. The consummate print specialist, Bosse repeatedly explored the unending chances of print - single-sheet prints combining textual content and picture, ebook representation, broadsides, placards, almanacs, theses, and pamphlets. Bosse had a profound figuring out of print expertise as a basic agent of switch. not like earlier stories, that have principally excited about the broadcast observe, this publication demonstrates the level to which the contributions of anyone printmaker and the visible photograph are basic to realizing the character and improvement of early glossy print tradition.

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Extra resources for Print Culture in Early Modern France: Abraham Bosse and the Purposes of Print

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If it were ever possible to reproduce the “thing itself,” this was not the way to do so. prints as reproductions Bosse does not make an explicit distinction between prints as independent, single-sheet compositions and prints reproducing works by other artists, in other media, intended for those with an interest in the more or less recent history of art. And the two are ambivalently interconnected in the literature on printmaking. 57 The story of reproductive printmaking begins with Marcantonio Raimondi, a professional engraver who first produced “pirated” versions of woodcuts by D¨urer and then went to work for Raphael, producing engravings after drawings made expressly to be engraved as well as after painted compositions by the master.

A drypoint involves nothing more than scratching a plate with the point of a needle. As the metal is displaced, a burr is raised, the impression from the plate registering the incised groove and its accompanying burr. Both are extremely fragile, however, and, as a result of the friction caused by inking, wiping, and printing, the plate will yield a mere ten or twenty prints of varying degrees of sharpness. Etching, although not as delicate as drypoint, offered the possibility of a comparable spontaneity and license preferred by “painter-etchers” such as Rembrandt and was at times used in conjunction with engraving by professional printmakers.

Existing documents hardly brought that market back to life, however, showing neither how many prints were in circulation nor the appeal of particular printmakers or subjects. They proved, at best, she frankly admits, ambiguous and ultimately unhelpful. 43 So far as Bosse’s prints are concerned, even if it is not possible to specify the number of impressions he had pulled from one of his plates, given their continued 30 a printmaking revolution availability down through the centuries – and still today at most print dealers in Paris – it must have been considerable.

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